 Hello, Ocelay to Sink here, and welcome back to another video in the series where we are building patches from scratch on the Behringer Deep Mind. So in the last video in the series, we built a big lush ambient pad patch with lots of modulation and delay and shimmery, but all that business. So what I thought would be quite a fun contrast in this video is to go the other way and actually build a real classic, monophonic lead sound. Okay, so let's jump in and let's start building the patch. So I'm going to hit program and compare to get to initialize patch. So this patch that I'm looking to build, I'm going to draw inspiration from a mini Moog patch, which is quite well known. You can find it if you Google it called the Goom patch. It's a real classic kind of Moog-y, a mono lead sound. Obviously, the Deep Mind is not a Moog, but I'm going to kind of use it as a sort of sonic blueprint, something to sort of aim for. Okay, so let's establish a couple of things to get started. So the first thing is, at the moment, we've got a polyphonic sound. This is going to be a mono lead sound. So I'm going to head into the poly menu here and then go up to the polyphony setting here and I'm going to swing across to mono three. So mono three means I'm stacking up three oscillators each time I play a note. That, of course, is drawing influence from the mini Moog where you have those three oscillators. So the patch that I'm drawing inspiration from is based around square waves, three square waves all running at once. So I'm going to go over here to the oscillator one section. I'm going to turn off my sawtooth wave. So at the moment, we're kind of getting this sort of weird, slightly thin, phasey sound. And the reason for that is that at the moment we've got these three oscillators all running together and they are ever so nearly completely in tune. And what that does is it ends up creating lots and lots of phase cancellation, which is thinning out the sound, making it sound sort of distant and phasey. So what we want to do in order to get things thicker is actually make this sound less perfect. So one thing we could do is we could introduce our unison detune, which is a nice sound. But what it ends up doing is kind of creating this sort of constant detune. And what I'd rather do is introduce sort of a gradual over time drift of the oscillators. Obviously, in order to do that on the DeepMind, we can go into the Poly menu here and we can go down to the oscillator drift. And we can introduce drift between the different oscillators. Something around there. I think sounds pretty neat. OK, so the next thing that I want to do is I want to reproduce the way that it feels to play these sort of monophonic lead sounds. I know that kind of sounds like a weird thing, but very much part of those sounds is the way that you end up playing them. Lots of these sort of legato runs and all that kind of stuff. At the moment, one of the things that's kind of killing that vibe is the fact that sometimes when I press a key, it's quiet. And other times, it's loud. That's the velocity sensitivity of the keyboard. Obviously, back in the days of the Minimoog, velocity sensitive keyboards, not quite as common. So I actually want to remove that capability from the DeepMind. Pretty straightforward to do if you want to remove the velocity sensitivity, which is always a good idea for these sort of lead sounds, I think, is if we come into the VCA menu here and we've got here, we've got the velocity sensitivity. At the moment, that's set halfway. So you can actually make things even more velocity sensitive. But actually, what I want to do is bring it all the way down. And then we've got that constant volume inside. And immediately, if you're familiar with that kind of vibe, just the way that you play it and the way that the keyboard responds really does add to that sound a whole lot. Now, similarly with the VCA velocity sensitivity, the volume velocity sensitivity, there's currently, although you can't really hear it because the filter's wide open at the moment, there's a similar thing going on with the VCF as well. So let's go into the VCF menu and do exactly the same thing where we've got the velocity sensitivity. We can turn that all the way down as well so that we don't get any changes in the filter when we're dealing with how hard we're playing as well. So we've not got... It's a nice static sound. Yeah, it is a nice static sound because it's what we're aiming for in this particular patch. OK, so the final sort of the way that the patch plays part of the puzzle here, I think, and it's arguably the most important one, is that patches like this, knee, portamento, something like that. Awesome. OK, so let's actually start to talk about the sound a little bit more. So we've got our three square waves at the moment. First thing I want to do is I just want to darken the sound just a tiny little bit, not much. Now, this sounds like we've stolen quite a lot of brightness from the sound and we have. But one of the ways that we can put brightness back in without having quite so much sizzle is to turn up the resonance on the filter because this filter actually, the cutoff, isn't that far down. It just feels that way because of how much top end has disappeared. But if we want to put some top end back in without bringing too much sizzle in, instead of a bit more attack, we can turn that resonance up a bit. OK, so still feeling like it's lacking a little bit of sort of front end attack. So let's introduce a little bit of envelope movement on the filter. So we can turn up the envelope here. We don't need to turn up much, I think. I'm going to think a little bit about the way that this is decaying. So I think we probably, if we come into the VCF here, probably want it to drop quite low. It's interesting, isn't it, that even if we have that go all the way back down to the filter setting, which sounds quite dark when you don't have that attack. By having that initial attack, the fact that the body of the sound is darker kind of doesn't seem as dark anymore. So here on the envelope, just to make sure we're clear what's going on here, we've got an instant attack. We've got a pretty fast decay here and then the sustain is set right the way at the bottom, which means we're dropping all the way back down to wherever the filter is currently set. Where it's decaying. I think we can have a little bit of a longer release on this. So let's go into the VCA envelope as well. So we'll have the sustain up full just to begin with. We'll have the attack instant, although we could arguably just ever so slightly, just inch up. So it's just softened ever so slightly. And let's just see what it sounds like with a bit of a longer release. Maybe the attack a bit too long I think. Yeah, I think I like that. Although I think what we could do is if we come into the curve here we can probably send this to a bit more of a linear release instead. Which sounds a little less natural in terms of the way that acoustic sounds decay, but it kind of sounds a bit more vibey I think. While we're over in this section of the keyboard we should probably take a look at the high-pass filter here as well. Let's try hitting the boost to get a bit more bottom end. Yes! So when we turned up that resonance it did rob us of some of our bottom end. And that's kind of got that back for us. That's also while we're here let's check how this sounds. In the upper registers. Do we think up here we're losing just a tiny bit too much top end? Let's see what happens if we give a little bit of the keyboard tracking to the VCF. Very much. Just a bit more sizzle up at the top. Still sounding balanced down here. Now even though I kind of feel like I've got the filter where I want it just out of interest let's just see what it sounds like with it a bit darker. See that's cool. Okay, so I like that darker sound as well. So how about, because I don't like having to reach and reset this frequency fader especially when I feel like it's quite a sweet spot for the main sound how about that we assign the frequency control here to the mod wheel but rather than it turning up when I turn the mod wheel up it goes down. Okay, so let's do that really straightforward to do if we head into the mod matrix. So I'll hold down the mod button and I'll touch the mod wheel to select that as the source and then I'll just touch the filter cutoff to set that as the destination and then here we can set the depth so I'll turn my mod wheel all the way up and as I turn down the depth this time because I want it to get darker you can hear the filter closing off I think that's a really cool sound. It's quite funky down there but it's a more classic prog rock set there. Okay, right, so we're kind of almost approaching the end I think for this patch because we don't want to over complicate it. One thing that is almost certainly a must I think is that we want to have a bit of pitch wobble happening. So let's head into the oscillator edit menus and we can see here that our pitch mod source is set to LFO 1 which sounds good to me. So if I turn up the pitch mod for oscillator 1 starts doing that it's a very slow LFO so let's turn up the LFO now we don't really want that all the time we want to be able to bring that in as we play however where you would usually assign that of course it's the mod wheel We've set that to be our cool filter cut off thing so where else would it make sense to apply the pitch modulation sort of intensity to while there's one obvious candidate and this is something that the mode I don't think had but the DeepMind does have and that is that the DeepMind has after touch after touch if you're not aware so you kind of have but you actually have sort of three expressions as you strike a key you have the velocity which is how fast you strike the key you also have actually on the DeepMind I haven't used it a whole lot in patches but it's an interesting one you also have a note off velocity which is when you hold down a note how fast you let go of the note so that's quite an interesting one the third one that you have is the after touch or as it's referred to in the mod matrix the pressure which is once you are holding a note you can push down on the key some more and that gives you another level of expression so what we want to do is we want to apply that after touch to the pitch mod of oscillator one so that we can bring in that vibrato as we hold down the key cool, right so let's head into the mod matrix and pick an empty slot so if we hold down the mod button and press the note and then hold it down to trigger the after touch pressure will be set as our mod source we then want to move across to our destination and we want to hold down mod and we want to move the pitch mod for oscillator one to set that as our destination and then if I hold down a note and press hard I can adjust the depth and now as I play press down hard to apply vibrato which as a guy coming from a guitar player as well that feels very natural to me to have that kind of expression rather than using the mod wheel actually now there's one thing about this vibrato that is bugging me a little bit at the moment it's not quite as perfect as it could be I'll just turn it up again on the slide so you can hear it can you hear how that vibrato is somehow kind of it's not quite as distinct as you might want so the reason for that is that by default because the DeepMind is a polyphonic synthesizer actually every single one of these voices here essentially has its own set of LFOs and by default they're kind of running independently of one another which means that they're out of phase so you don't get quite as pure of a vibrato happening but it's an easy fix and I think it's a setting which is often overlooked so it's worth knowing about so if we head into the LFO1 edit menu and we go down to the bottom here where it says phase at the moment that's set as poly which is the default mode each of the LFOs are kind of free running independent of one of each other if we click across one here we get to the mono mode this means that I don't know precisely whether this means that only one LFO exists or whether all of the LFOs are perfectly synchronized whichever way it is so this is how it was before and if we move to mono you can hear there that vibrato is much more defined so now it's kind of more dramatic and more defined back to poly it's kind of subtle it's one of those things that's worth getting right in a patch I think so one more sort of sound altering parameter I think it's worth talking about and it's not something that was so easy to do but maybe on the Minimoog is that we have pulse width modulation on the square wave now I don't want to go overboard and actually have it modulating but what we shouldn't overlook is the effect just manually changing that can give you kind of reedy and more aggressive so the pulse here is quite thin kind of hollow and a bit more bottom end there's some sweet spots in here where those harmonics really kind of pull out I think there's one kind of harpsichord kind of vibe sort of around there I think is a kind of a sweet spot just a little bit up there as well just gives us a little bit of that top end it's sort of emphasising some of the upper harmonics I think if we had another source you can stick an expression pedal into the deep mind and we could assign the pulse width modulation via the mod matrix to that expression pedal and that would be a great way of sort of altering that sound we could put it on the mod wheel instead and have the foot pedal doing the filter cutoff I think this one makes more sense to leave it on the slider than the filter does though so I think I'm going to leave that on the slider just for today ok one last thing to address I kind of said that I wasn't going to go overboard on the effects or anything but seeing as we do have an effect section here in the deep mind for a lot of sounds I think once you put them in the mix you're going to put a little bit of delay on them I think so let's go ahead and put some delay on because we may as well while we're here so let's head into the effects menu in send mode which is fine just go to the last slot because I'm only going to put in one for some reason I always work backwards on my effects I don't know why so we're going to scroll through and a bit further on we get to our delays there's a couple of different delays here we've got our 3 and 4 tap delays which are quite interesting what I'm going to head over to though is this T-Ray delay so what this is is an emulation of a type of delay called the oil can delay now if you're not aware of what the oil can delay is it's um if you search for the tell ray oil can delay on google you'll find all sorts of sites about it but it's a completely sort of bonkers design that's sort of using it's kind of like a tape delay but rather than having tape spinning around a reel you've got this sort of magnetic oil spinning round and the kind of delay that it creates is this sort of quite blurred sort of ethereal kind of delay that kind of sits back in the mix and kind of gets out the way which I quite like I'm going to set it to sound more like a reverb as well if you like let's head into the effects fine tuning we can see here we don't get a whole lot of stuff here so one of the things we can do is we can shorten it a little bit this next value here is sustain which is essentially our feedback if you like so I think it's a bit too long at the moment just kind of want to slap back we've then got a wobble amount here feel like I want a wobble today and finally we've got a tone so if we want to darken this down a bit now it's a bit darker I think we can afford to have it go on just a bit longer and then if we just come back into our effects here we can turn down the level just want it subtle but not that subtle so without it it sounds like this and with it sort of somewhere between a delay and a reverb and that wobble I think is also introducing a slight chorus which is quite pleasing to me and there's our lead sound so anyway guys thank you so much for joining me on this voyage of tonal discovery today if you enjoyed the video if you found it useful if you like the patch please do make sure you give this video the good old thumbs up also make sure you're subscribed to the channel and if you really want to make sure that you don't miss out on any upcoming videos on the deep mind and on synthesis in general make sure you hit the bell button so that you do actually get a notification when a new video comes out I tend to be putting out to a week at the moment so there's plenty of content to enjoy if you have any suggestions or requests for the types of patches that you'd like to see me cover in upcoming videos then let me know in the comments below but other than that guys thank you so much for joining me once again take care bye bye